SUGARLOAF is a heavy progressive rock band formed in Denver, Colorado in 1969 by vocalist and keyboardist Jerry CORBETTA. CORBETTA formed the band as CHOCOLATE HAIR and recruited guitarist Rob WEBBER, bassist Bob RAYMOND, rhythm guitarist Veeder VAN DORN III, and drummer Bob MACVITTE. The band started playing psychedelic pop songs and began to integrate heavy blues rock music into their sound. By 1970, the band released their debut album Sugarloaf and then officially changed their name to match the album. The band then recruited second guitarist Bob YEAZEL in 1971 and released their second album, Spaceship Earth.

The band returned to the studio in 1973 after a change in record contracts to release their third album, I Got a Song. The band’s drummer MACVITTE left after the release of this album and the band found Myron POLLACK to replace him. The band went on to release their fourth and final album, Don’t Call Us - We’ll Call You in 1975, which was actually a dig at CBS Records, who had turned down their deal that same year. The band decided to disband after the release of that album to pursue other musical pathways. CORBETTA is known to have continued on to play with a number of pop/disco groups in the late 1970s and 80s, including the popular group THE FOUR SEASONS.

SUGARLOAF’s psychedelic-inspired accessible progressive blues rock will appeal to fans of 70s heavy prog groups such as URIAH HEEP and ATOMIC ROOSTER with a crossover prog edge to their music. ……….

Best known for their 1970 AM pop classic “Green-Eyed Lady,” Sugarloaf was formed in 1969 in Denver out of the ashes of the Moonrakers, which had released an album in 1968. Singer/keyboardist Jerry Corbetta and guitarist Bob Webber founded the group, adding Moonraker mates Bob MacVittie on drums and Veeder Van Dorn on rhythm guitar, plus bassist Bob Raymond. Originally dubbed Chocolate Hair, the band lost Van Dorn after just a few months when he joined Mescalero Space Kit. On the strength of their demos, the band was signed to Liberty, and changed their name to Sugarloaf, after a Colorado mountain popular with skiers (the record company was concerned about the possible racial overtones of Chocolate Hair). Sugarloaf recorded their self-titled debut album in 1970, and the single “Green-Eyed Lady” – co-written by Corbetta and based on a piece of a scale exercise in a practice book – slowly became a nationwide hit, catching on in more and more markets until it finally peaked at number three on the pop charts. For the follow-up album, 1971’s Spaceship Earth, Sugarloaf added guitarist/songwriter Bob Yeazel, who had previously played on two albums as part of a Denver band called the Beast. Spaceship Earth didn’t produce any hits, and disagreements over the band’s choice of producers followed. Yeazel wound up leaving prior to the release of 1973’s I Got a Song, which appeared on the smaller Brut label and featured former Beast drummer Larry Ferris. Resurfacing on Claridge in 1975, Sugarloaf finally scored that elusive follow-up hit with the title track from their fourth and final album, Don’t Call Us – We’ll Call You. However, they subsequently disbanded. Corbetta went on to release a solo album on Warner Bros., and later worked with Frankie Valli & the Four Seasons as a writer, producer, and backing musician…..by…Steve Huey…… …..

SUGARLOAF are from Colorado in the USA and are pretty much known as a one-hit-wonder because of the opening track “Green-Eyed Lady”. This is their debut from 1970 and it’s very much hit and miss for me and mostly the latter. I give it 3 stars though because of that opening song which has been a favourite of mine as long as I can remember. And really there’s nothing on this album that sounds even close to “Green-Eyed Lady”, it’s like we get a different band for the rest of the album.
“Green-Eyed Lady” is an absolutely incredible track where i’m blown away by the drumming and bass work. Ditto for the organ play of band leader Jerry Corbetta who is also the singer. Such a proggy track and it has special meaning since i’ve been hanging out with a beautiful green-eyed lady for many years. Nice organ solo before 3 ½ minutes then the guitar comes to the fore tastefully. It’s awesome to have the almost 7 minute album version of this track because I never want it to end. “The Train Kept-A-Rollin” is a short instrumental cover of THE YARDBIRDS track. Yeah it’s okay. “Medley : Bach Doors Man / Chest Fever” opens with an organ solo of that Bach tune reminding me of ELP before blending into another instrumental cover of THE BAND’s “Chest Fever”. Again this is all okay but does little for me.

“West Of Tomorrow” is a return of the vocals for the first time since the opening song. The organ is again prominant including a solo. It’s a little dated but not bad. “Gold And The Blues” is pure blues with the organ, drums and guitar standing out. It’s an instrumental and pretty good if your into the blues. I especially like the guitar. “Things Gonna Change Some” is my second favourite track. It’s a vocal tune that has some tempo changes. A feel good song for me. I like the instrumental section in the middle where the guitar comes to the fore.

A good album I suppose but yeah one-hit-wonders is a deserved title for this band unfortunately….by Mellotron Storm….
It’s quite funny to me knowing this band only from a pop music compilation cassette sometime in mid seventies with a very good song titled as “Don’t Call Us, We Call You”. I knew that the name of the band who played it, Sugarloaf, must be the one who played rock music as I looked at the riffs from that pop song. I then finally traced back the background of the band and thanks to the internet that finally I knew a bit history of the band whom they named it as Chocolate Hair prior obtaining contract to record their debut album in 1970. The story about the band indeed is about the vocalist and keyboardist vocalist and keyboardist Jerry Corbetta who met with guitarist Bob Webber of the Moonrakers; the other initial bandmembers were drummer Bob MacVittie and rhythm guitarist Veeder Van Dorn III, also from the Moonrakers, plus bassist Bob Raymond. They changed their name to Sugarloaf, a mountain in Colorado.
This debut album from 1970 is good to me as the music is still raw an it represents the seventies music in terms of guitar riffs and fills as well as keyboard work. It opens with their top hit song (no. 3 in the US) Green-Eyed Lady where the music is really vintage and I can sense a very dynamic riffs and good keyboard work. The band also play the Medley: Bach Doors Man / Chest Fever nicely and it has a very good combination of solo keyboard / hammond combined with guitar. The drum work sounds raw and it’s nice hearing this old school classic rock. The long keyboard work and guitar rhythm section has made this song sounds interesting to my ear. West of Tomorrow starts with simple basslines followed with vocal line and the music moves in medium tempo. Gold and the Blues is really an excellent instrumental blues track with great keyboard / hammond work and raw guitar work. I sometime make this track as my one of my playlist in enjoying blues music. The guitar playing, basslines and drum beats are all really nice. After a long guitar solo the track then enters the hammond solo. It’s really nice! Things Gonna Change Some is another good track in psychedelic style.

Overall, it’s a very good album and recommended to those of you who like vintage rock music and do not expect much prog at all. Keep on proggin’ …!…by Gatot ……

This is SUGARLOAF’s second album released in 1971. The big change is the addition of vocalist and guitarist Bob Yeazel and this was a significant move as he composed almost everything on this album. The debut certainly had it’s share of cover songs so i’m sure he was brought in to create some original material. There’s a completely different vibe to this record compared to the debut where we got a lot of jamming. Shorter tracks here with almost a countryish / West coast thing happening.
“Spaceship Earth” is one of the better tracks and it doesn’t kick into a groove until before 2 ½ minutes. I like this a lot. A real CAMEL vibe on this opening instrumental at times. “Rusty Cloud” is an uptempo vocal track. There’s a definite enviromental flavour to the lyrics throughout this album. Cool tune. “I Don’t Need You Baby” is where they slow it down and it has a bluesy feel to it. Vocals before 1 ½ minutes. Harmonies too with piano and drums standing out. “Rollin’ Hills” has harmonica and country vibe to it as he sings about those rollin’ hills, sunshine and his friends the trees.

“Mother Nature’s Wine” opens with keyboards that remind me of “Green-Eyed Lady”. Again the earth is the subject matter. Good song. “Country Dawg” opens with guitar but soon the vocals and organ join in. Not a fan of this one. “Woman” isn’t much better to be honest. “Music Box” is a short 2 ½ minute track with the music box playing and reserved vocals. Three very average tunes in a row. “Tongue In Cheek” ends the album and this is much better. In fact this was a hit for them back then although I don’t recognize it. The bonus track I do remember called “Don’t Call Us, We’ll Call You”. In fact I think I had this on a K-Tel record when I was like 14 years old (haha). A rant against record companies really but very dynamic and this is from their 1975 album of the same name.

It’s interesting reading leader Jerry Corbetta’s thoughts about their experience. He talks about how “Green-Eyed Lady” from their debut became an unexpected hit settling in at number 3 in the Billboard charts. They were an overnight success and they were thrust into touring opening for JETHRO TULL and many looked at them as bubblegum because of their lone hit. He says it was like the cart ahead of the horse scenerio. By the way they named themselves after the Sugarloaf mountain range in Colorado. I will always treasure “Green-Eyed Lady”…. by Mellotron Storm ……

Biography

I started playing guitar at the age of 14. My father, Glenn Yeazel was a Pentecostal preacher. I was raised around gospel music since the womb. I started playing in the church band and practiced eight hours a day. My first summer as a guitar enthusiast went something like this:
Two hours classical

Two hours finger picking

Two hours jazz

Two hours of rock.

I actually wanted to be the greatest guitarist on earth until I discovered something I liked even more; songwriting. I joined my first band at the age of 15 and started playing professionally, no longer playing in the church. This alienated my family pretty bad.
I played locally all over Colorado until the age of 19 when a friend of mine, Ron Morgan, who eventually became the original guitarist of Three Dog Night, took me out to Hollywood to join the West Coast Pop Art Experimental Band. This is where I first met band mate and longtime friend Jimmy Greenspoon, who went on to become the original keyboard player in Three Dog Night and still plays with them today.

We played the Teenage Fair of 1967 and I was in the middle of the “I am the Lizard King” Los Angeles music scene of the late ‘60s . We opened for The Byrds, The Association, Iron Butterfly, The Nitty Gritty Dirt Band, The Yardbirds (with Jimmy Page on guitar), Moby Grape, The Music Machine, etc.

Jimmy, Ron and I left the 'Pop Art Band’ and came back to Denver and formed a band called Superband. We recorded my first record called “Acid Indigestion.” We hung around for about a year and then Jimmy and Ron went back to L.A. I stayed here and became a founding member of The Beast.
Bob practicing during the Beast era.

The Beast recorded two albums and did pretty well touring Midwest states from Canada to Texas. We opened for, then backed up Chuck Berry, which was a thrill. Also we opened for The Who, James Cotton, Eric Burdon and War, Vanilla Fudge, and many more that I can’t remember. While in The Beast I had an opportunity to work with Norman Petty, producer of all of Buddy Holly’s work, and Jimmy Gilmer of the Fireballs fame.

After approximately two years in The Beast, I decided to leave. I was sitting around writing songs when Jerry Corbetta asked me to join Sugarloaf. They were unknown nationally but making good money locally without a record. They had just been signed to a record deal on United Artists and needed a songwriter.

When Sugarloaf’s first album came out, one song that barely got on the record became a huge hit. The song was called “Green-Eyed Lady.” I didn’t sing, write or play on that album because the record company wanted to release the demo tape as finished product. The band’s name was “Chocolate Hair” at the time, but the record company thought it was racially incorrect so the name was changed to Sugarloaf.

We didn’t get much airplay locally, but in Portland, Oregon a disc jockey played it, people called in requesting it, and the record slowly became a hit in the Northwest area. Eventually the song became a huge hit nationally peaking at Number 3 on Billboard, and as a result we toured with and opened for many great acts.

After two years, I became disillusioned with the direction of Sugarloaf, moved back to Denver, and started a recording studio called Warthog Productions.

I briefly played in a couple of obscure short-lived projects and then joined The Freddi-Henchi Band. That’s when I learned that I am really black. I played, toured, partied, and funked out for eight years with them. Then I got burnt out and got out of music for about eight years.

I spent that time getting my head together and trying to get my own style. But music was in my heart and blood and began gnawing at my soul. I had started my own glass company and had a warehouse that was perfect for jamming out in the middle of the night without fear of complaining neighbors. I got together with some old friends and started playing anonymously in a sleazy biker bar in Commerce City, Colorado. We called the band 2D Max, and we ended up recording a cassette and having a lot of fun.

At this point I knew my days of devoting myself to the glass business were over. Next, with my renewed vigor and confidence growing, I started a project called Bob Yeazel and the Nightcrawlers. We recorded quite a bit and toured Asia, playing in Korea, Japan, Okinawa, and Guam, with a stop over in Hawaii.

I am now currently working on publishing and have been writing and recording a lot of music. Some I’ve had in my bag for years, others are brand new. I am trying to market my tunes to other artists and get my music out to a larger audience. It’s a lot of work but it’s doing what I love–making music.

I love playing, singing, and writing now more than ever and all I ask is money, fame, and beautiful women who want to be my sex slave. Is that asking too much?

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